Hair has been a cornerstone of Black beauty and cultural expression since pre-colonial Africa, where braiding was not merely decorative but deeply symbolic. At that time, hair was used to convey identity, social status, marital position, and tribal affiliation. So it’s no surprise, then, that Black hair shows have remained a meaningful tradition across the diaspora—from Mali to the Dominican Republic to New York, particularly since their rise in the 1990s. Many are familiar with the archival footage: grainy camcorder clips capturing towering, sculptural styles shaped like helicopters or hats, turning hair into high art. Once considered a sacred yet bygone ritual, the Black hair show has reemerged. On Friday, May 2, just days before the Met Gala, the spectacle was revived in downtown Manhattan with Jawara Wauchope and Jarrod Lacks of Echelon Noir Production for their debut show “Black Hair Reimagined.”
Behind the scenes at WSA, a controlled creative chaos ensues. Five hairstylists work simultaneously, crafting elaborate looks as stylists, makeup artists, and assistants weave through the space for last-minute preparations. The show, hosted by actress and Pattern Beauty founder Tracee Ellis Ross, opens with Ross introducing a lineup of hair visionaries: Jawara Wauchope, Yusef Williams, Vernon François, Cyndia Harvey, and Malcolm Marquez, each making their debut. Their work is brought to life through styling curated by an equally impressive roster: Carlos Nazario, Patti Wilson, Jan-Michael Quammie, Jessica Willis and Gabriella Karefa-Johnson.
Backstage, Gabriella Karefa-Johnson, the first Black woman to style a Vogue cover, paused amid the frenzy to reflect on her approach before her work hit the stage. “The creative teams on most shoots or shows are chosen to reinforce each other’s artwork,” she explained. “So when hair becomes the focus, it’s such a unique opportunity for us stylists to step into a support role in a really intentional way.”
“It was amazing to work with Cyndia [Harvey], who is the fearless leader of her section. She had a clear vision for what she wanted, but also gave us the freedom to be flexible and interpret it in our own way.”
Harvey’s section was an immersive, underwater-inspired experience, bathed in aquatic hues and siren-like imagery, set to a soundscape that evoked that theme even more. “What’s cool about this is that it’s unexpected,” Karefa-Johnson added. “Hair shows are often so referential, we’re constantly looking back. But this felt futuristic and forward-thinking.”
The looks Harvey presented featured elaborate, interwoven braids that extended from the crown of the head to the floor, forming sculptural veils. “This gave me the opportunity, as a stylist, to get a little more nitty and gritty about how we were supporting the overall vision,” Karefa-Johnson said. “When I started thinking about doing the unexpected, I asked myself: what’s the most surprising way to approach the concept of water?” The answer, she explained, wasn’t softness or fluidity, but rather something more defiant. “We landed on the idea of freedom and rebellion, and that led us to a more punk aesthetic.”
This show, a celebration of not just Black artistry, but specifically Black hair, stands as a powerful counterpoint to the norms of the fashion industry where the presence, care, and visibility of Blackness is too often sidelined or questioned. “If Black models are the ones being photographed or walking the runway, if they are the subjects communicating the artwork, then I strongly believe there needs to be Black representation on the creative stakeholding team,” says Karefa-Johnson.
Hairstylist Malcolm Marquez echoed the importance of intention and representation. “As a hairstylist, the most important thing to me when working with Black hair is their comfort,” he said. Marquez, who has styled the hair of Rihanna, Tyla, and Doechii, shared his driving philosophy when it comes to consistently researching and reimagining Black hair. It’s “Because we’re limitless. There’s been such a narrow view of Black hair, we’re not a monolith. And especially considering how much we influence Western culture, we haven’t been given the space or the credit to truly expand.”
For Marquez, the show was more than a spectacle, it was a cultural revival. “Hair shows aren’t something a lot of people know about,” he said backstage. “So it’s exciting to see this lost, historic tradition that’s so important to our community, being brought back, updated, and celebrated in a space like this.”
His collection, whether intentional or not, was a visual homage to ancestral African and Caribbean aesthetics, with natural materials and folkloric references woven into his designs. Hair sculpted into plant-like forms mimicked the shapes of early African American lemon grass baskets. Moss-like headpieces, sharp braided structures, and crocheted garments gave the illusion of organic textures growing from the models themselves—earthy, surreal, and alive. “In our role,” Marquez said, “the goal is always to help people tell their story. Between hair, makeup, and styling, there are a lot of voices in the room. It’s about building relationships, listening, and communicating, so the story can truly come through.”
Ahead of the show, host Tracee Ellis Ross reflected on the significance of Black hair shows, “We need to continue the legacy,” she said from the red carpet. “I feel like this is a room full of my peers, creatives I work with, admire, and love, and I’m excited to see their work presented in this capacity, on this kind of stage.”
Ross arrived in full embrace of her signature style, wearing her voluminous afro at its fullest dimension, accented with classic gold hoops. “My Black hair can be anything,” she said. “Tonight, I went full Tracee volume. I felt this was the right environment for that.”
For Ross, celebrating Black hair isn’t just personal, it’s foundational. “I celebrate my hair in small ways,” she noted. “But the biggest way is through Pattern.” She continues, “It’s a reflection of who we are, a celebration of how our hair grows out of our heads. It’s about creating joy and love in our own bathrooms. Pattern is my expression of my hair and of us, as a people.”
For Ross, Black hair is not only about beauty, it’s about autonomy. “The biggest thing about today is expression,” she said. “It’s how we own our sense of identity in a world that often tries to prescribe it for us. It’s a sense of freedom and ownership.”
She added with a smile, “I hope people walk away from this feeling empowered to enjoy their own freedom, their own style, to feel immaculate in exactly who they are.”
The show, which welcomed guests like Solange Knowles, designer Raul Lopez, musician Kelsey Lu, and model Paloma Elsesser, took place in a theater-style venue with a central stage and tiered seating. Inspired by the raw energy of 1990s Black hair shows, this version brought a more refined and elevated presentation, with carefully crafted stage design, music, and styling. Models including Anok Yai, Jordan Daniels, and Julez Smith moved across the stage with power and precision, channeling the spirit of the original shows. The performance was both a tribute and a reimagining: a celebration of Black hair as a form of art, and of the stylists who continue to bring that vision to life today.